The Origin of African Sheep: Archaeological and Genetic Perspectives

Indigenous African sheep genetic resources have been classified into two main groups, fat-tailed and thin-tailed sheep. The fat-tailed sheep are the most widely distributed, being found in a large part of North Africa (from Egypt to Algeria) and in Eastern and Southern Africa (from Eritrea to South Africa). The thin-tailed sheep are present mainly in Morocco, Sudan and in West Africa. African sheep were domesticated outside Africa. They share a common ancestry with European and Asian sheep. Archaeological information supports separate introductions and dispersion histories for the African thin-tailed and fat-tailed sheep. The first sheep entered Africa via the Isthmus of Suez and/or the southern Sinai Peninsula, between 7500 and 7000 BP. They were likely of the thin-tailed type. Fat-tailed sheep entered Africa through its northeastern part and the Horn of Africa. Mitochondrial DNA analysis supports a common maternal ancestral origin for all African sheep, while autosomal and Y chromosome DNA analysis indicates a distinct genetic history for African thin-tailed and sub-Saharan fat-tailed sheep. The main ancestral population of southern African fat-tailed sheep likely originated in East Africa. Further work is needed to assess the possible dispersion of sheep from western Africa to the southern African regions.     

岩画断代研究——科技考古学领域中一个亟待解决的问题

探索和研究表明,岩画断代问题仍然是困扰岩画研究的难题之一,其主要原因是岩画本身不能够提供可供断代的直接依据。本文综述了目前岩画断代研究中经常使用的自然科学和考古学方法及其存在的问题,提出应用AMS14C是今后研究我国岩绘画断代问题的首选方法,解决岩刻画的断代问题则主要有赖于微腐蚀方法。     

Patching up evidence for ironworking in the horn

Archaeological research on ironworking in the Horn of Africa is meager and patchy. This paper offers hypotheses for the origins of ironworking in the region. Two conventional schools of thought are analyzed. The first school favors an external origin and the second advocates local invention. The two viewpoints are critically examined and their weaknesses exposed. A third alternative, which, in principle, combines the two, is provided in their place. This looks at the history of the Horn in a broad spatial and integrating perspective. It attempts to show that the current physical barriers such as the Red Sea, the Nile Valley, and the cataracts of the Nile River have not always been as impenetrable as we tend to think. There is evidence that sometimes in the past, people from the opposite sides of these “barriers” shared language, commerce, religion, and politics. The paper also discusses the impact of ironworking in the region and the technological influence of the Horn on sub-Saharan Africa. Finally, the paper offers some suggestions for future directions toward a more comprehensive understanding of Iron Age culture and the socioeconomic history of the region.     

WEST OF THE BEST: ROCK ART AND ARCHAEOLOGICAL DISCOVERIES IN THE DORO !NAWAS REGION OF NORTHWEST NAMIBIA

The Northwest of Namibia bears a concentration of rock art that is among the highest in the world. One of the centres is Twyfelfontein, a cluster of sites surrounding a waterhole at the eastern fringe of the Namib Desert, classified as the prime rock engraving site in southern Africa and designated a UNESCO World Heritage Site. Recent prospections in the desert west of Twyfelfontein have resulted in the discovery of engravings and paintings that exceed those at the UNESCO site, both in quantity and quality. Our contribution to this volume in memory of Klavs Randsborg introduces this newly discovered archaeological landscape and discusses the connection between water ‐ a rare commodity in the desert environment ‐ and the rich array of rock art and other archaeological features found here.     

青海民和县寺沟峡岩画调查简报

2019年,丝绸之路南亚廊道调查队在青海省民和县寺沟峡内发现了4幅6组个体102个岩画,并对岩画进行了详细的调查、测绘和数字化扫描。从整个岩面的制作技法来看,有直接磨刻法和敲凿法。岩画主要以抽象图案为主,有少量人像、持物人物、鸟等具象形象。其形象与新石器晚期至青铜时代彩陶图案纹饰相似度较高,与中原地区岩画有着密切关系,为研究官亭盆地早期文化提供了新的突破口。     

Rock surface luminescence dating of prehistoric rock art from central Iberia

Rock art paintings are notoriously difficult to date numerically. Recently, luminescence dating has been shown to provide reliable rock surface burial ages in various archaeological settings. Here we use the cross-cutting relationship between a fallen rock and two paintings of the Iberian Levantine (older) and Schematic (younger) styles to constrain the age of the paintings by dating the rockfall event using rock surface luminescence dating. Infrared-stimulated luminescence (IRSL) signals as a function of depth into the buried face of the talus border indicate that the IRSL signal measured at 50°C (IR₅₀) was sufficiently reset to a depth of about 1.6 mm prior to burial. An uncorrected IR₅₀ age of 1.6 ± 0.2 ka was calculated for the rockfall event by dividing the surface equivalent dose (D_e) by the total dose rate. This age was corrected using both conventional and field-to-laboratory saturation approaches to yield indistinguishable ages of 2.7 ± 0.5 and 2.9 ± 0.3 ka, respectively. Since the panel with Schematic art was first available to the artist after the rockfall, we conclude the Schematic rock art at Villar del Humo is younger than ~2.9 ka. The Levantine rock art was painted on a panel constrained by the talus boulder before detachment, and so it is likely to be older than ~2.9 ka.     

Late Ordovician and Early Silurian conodonts from the “Uralba Beds”, northern New South Wales

Limestone outcrops that form a north-south belt approximately 1.4 km long, 15 km east of Manilla and previously referred to as the Uralba Beds, and associated rocks, are shown to be an olistostromal component of the Wisemans Arm Formation. Elongate olistoliths up to 100 m in length are flanked by limestone conglomerate with clasts set in a volcaniclastic matrix derived from a range of volcanic rock types. Volcanic olistoliths, including a mass of ankaramitic basalt, are also present. Conodont faunas of differing ages were obtained from various outcrops. A Late Ordovician (Eastonian, Ea3) fauna of over 400 elements from some outcrops is identical to one recently documented from elsewhere in the Wisemans Arm Formation. A small Early Silurian (late Llandovery-early Wenlock) fauna from four outcrops (including two formerly thought to be Ordovician) comprises the first documented conodont fauna of this age from the New England Fold Belt.     

Revisiting the Parietal Art of Wonderwerk Cave,South Africa

Seen by all who visit Wonderwerk Cave, the rock paintings that adorn its walls have attracted less attention than many other aspects of the site. The paper gives a brief account of their history and significance and of factors that have constrained their study. Graffiti damage and restoration added layers through which researchers would need to delve in order to understand them archaeologically. Pointing to directions for future work, the paper concludes with discussion on a currently debated category of southern African rock art, the “non-entoptic” geometric rock art tradition, to which the Wonderwerk Cave rock paintings would belong. A shift in theoretical focus is advocated for comprehending local contingencies in the formation of rock art “traditions” rather than simply assuming the prior existence of such constructs.     

Digital Technology in Research and Documentation of Hunter-Gatherer Rock Art in South Africa

The use of digital technology to enhance and manipulate photographs of rock paintings affords researchers insights into imagery that was formerly invisible or obscure. Image enhancement and manipulation software have greatly increased the data set available for study. There is a wide range of techniques available in the digital repertoire, depending on the aim of the research. Here, three South African case studies are discussed in which hunter-gatherer rock paintings are enhanced and manipulated to create digital “tracings” using the computer programmes Adobe Lightroom, Adobe Photoshop and DStretch. The results obtained with these simple techniques are presented here, because they might prove useful for rock art research elsewhere in the world. It must be noted, however, that these technological developments do not eliminate the subjective nature of recording and interpreting rock art or the necessity of a theoretical framework in which to understand the imagery.     

Italy and Africa: how to forget colonialism

Abstract

The debate on colonialism places great emphasis on the composite set of transformations put in motion by colonialism fully to give birth to what became the post-colonial state in independent Africa. Many authors suggest that Italian colonialism in the Horn of Africa was too weak to perform this task. The present article intends to review the influence and effects of the Italian colonial experience for state making in the Horn of Africa. This also brings about one of the main anomalies of the Horn of Africa, where colonialism ended without a process of true decolonization, in the sense of a confrontation between colonized and colonizers in the transfer of power from metropolitan rule to African representatives. The present Italian foreign policy in Africa is similarly conditioned by its colonial history: besides its focus on the Horn of Africa, which was the centre of Italy's colonial expansion as well as the only post-Second WorldWar administration (Italian Trust Administration of Somalia – AFIS), the relations between Italy and Africa reflect the many inconsistencies and uncertainties of the colonial experience.     

Weathering of rock art at two sites in the KwaZulu-Natal Drakensberg,southern Africa

Sediments of the Karoo Basin in southern Africa represent one of the world's finest laboratories for investigating sandstone weathering. The natural breakdown of these sandstones, most notably in the Clarens Formation, is destroying much of the indigenous rock art heritage that exists there. In an attempt to elucidate the operative weathering processes, a range of micro-climatic, rock temperature, rock moisture, rock chemistry, and rock property data have been monitored over a 15 year period at two sites in the KwaZulu-Natal Drakensberg. Results suggest that rock moisture regimes and to a lesser extent, rock thermal regimes exert the most damaging influence on San paintings. It is argued that granular disintegration and the enlargement of existing sandstone pores and bedding planes close to the rock surface, facilitate an increasingly dynamic moisture regime, which leads to an accelerating rate of weathering. Recent technological advances in data collection suggest that a re-evaluation of environmental controls may be necessary before weathering, at a scale appropriate to the deterioration of rock art, can be fully understood. The continued existence of indigenous rock art in southern Africa depends on investigations aimed at the development of techniques for its preservation.     

Re-examination of Ancient DNA in Texas Rock Paintings

An unsuccessful attempt to study ancient DNA from Pecos River genre rock paintings located in shelter 41VV75 in the Lower Pecos River region of southwest Texas is described. We were unable to extract any ancient DNA from these Pecos River genre rock paintings, casting doubt on a previous study that reported extraction and characterization of ancient DNA in paint samples of the same genre at the same site.     

Empowering the Local Saharawi People: Training for Rock Art Documentation in Western Sahara (DARSSO Project)

The former Spanish Sahara is the last remaining colony in Africa. Most of the local people have been living in refugee camps in Algeria for the last 40 years and this situation has largely conditioned the archaeological research in the territory for a long time. In spite of the Saharawi Ministry of Culture in exile occasionally collaborating with European academic institutions for the study of its huge archaeological heritage, the training of local archaeologists or initiatives exclusively aimed at targeting the self-management of the Saharawi Archaeology are rarely carried out. This could be due to the difficulties in getting funds for long-term projects in this area, among other factors. However, today’s technological revolution has come to the desert including mobile telephones, televisions, computers and even an incipient Internet connection. At the same time, current digital technology has encouraged the development of new methods of documenting rock paintings, which might be appropriate and more accessible for the Saharawi technicians. This paper discusses the successful and failed aspects, as well as future perspectives, of a training course in rock art documentation intended for empowering local archaeologists who are living in very unfavourable circumstances.     

First absolute dating of Andean hunter-gatherer rock art paintings from North Central Chile

We report the first absolute dating for rock paintings by Andean hunter-gatherer groups. Analysis by Raman spectrometry of remains of black paintings from the center-north of Chile (30° lat. S) allows for the identification of carbon as the raw material. Radiocarbon dating situates these paintings between 1623–1431 BCE and 80–240 ACE, dates that are supported by other lines of independent evidence. These results are consistent with proposals that suggest the appearance and popularization of rock art in various places in the Andes for the temporal transect of 3000–1000 BCE. Finally, these new datings are added to the scant corpus of absolute dates for rock art that exist in South America.     

Schematic Rock Art,Rain-Making and Islam in the Ethio-Sudanese Borderlands

Two sites with schematic rock paintings in Western Ethiopia, where Islamic ceremonies connected with rain-making are performed and miraculous events are said to occur regularly, are interpreted in the light of such factors as the beliefs of local informants, the Islamic appropriation of prehistoric rituals in Northern Africa, the characteristics of similar sites linked to rain-making rituals throughout Eastern Africa and the apotropaic meaning of schematic marks in many traditional cultures. Probably painted by the ancestors of the current Koman language speakers during the Later Stone Age or shortly afterwards, the rock art contextual analysis reveals the complexity of interregional relationships and processes affecting the multi-ethnic frontier regions in pre-colonial times and shows how the local groups have recombined prehistoric and historic religions and ideologies into an original mix that bears witness to the region’s multifaceted history.     

Uranium-series age estimates for rock art in southwest China

We report the first uranium-series age estimates for rock art in China. Calcite bracketing a paint layer was used to constrain the age of a naturalistic outline hunter-gatherer painting in the Jinsha River area of northwest Yunnan Province (southwest China). The rock paintings in this region are unique in style and content compared with other bodies of rock art in China, which are dominated by Neolithic subject matter. The minimum and maximum ages were determined using isochron techniques on multiple samples of calcite from above and beneath the paint layer. A large painted deer head was dated to between 5738 and 2050 years. This painting and underlying flowstone are superimposed on older paintings that suggest the older paintings are at least 3400 years old, if not older than 5738 years. The results indicate for the first time that Jinsha River rock art is older than other forms of rock art in the region and show that rock art likely extends back to at least the transition from the Palaeolithic to Neolithic in this part of China.     

U-Pb dating of zircon: A sourcing method for pottery from La Morena archaeological site,north-west Colombia*

U-Pb zircon radiometric dating and petrographic thin-section analysis were used for provenance identification of Ferrería and Marrón Inciso pottery styles from La Morena archaeological site in northwestern Colombia. U-Pb dating was applied to zircons recovered from pottery and rock samples from nearby geological units. The results suggest at least three distinct sources: the metamorphic rock unit on which the archaeological site is located, a granodiorite unit that outcrops further away from the site, and a mafic rock that cannot be attributed with certainty. U-Pb in zircons proved to be effective as a provenance method, where ages of the possible source rocks are well constrained, and can be applied to areas where traditional sourcing methods may be problematic.     

From the Sands of the Ogaden to Black Hawk Down: The End of the Cold War in the Horn of Africa

From the Ogaden War to the Black Hawk Down incident, the Horn of Africa was a theatre of events with far-reaching international consequences. This paper argues that the distinctive process leading to the end of the bipolar conflict in the Horn is crucial to understanding the role of this region both during and after the Cold War. Through an extensive analysis of the period 1985–1991, this article explains why only a few years after the ‘burial’ of SALT II in the sands of the Ogaden, the superpowers withdrew from the region which had been the symbol of the failure of détente. Similarly, an analysis of the end of the Cold War is paramount to understanding why, after the break-up of the USSR, the Horn of Africa hosted one of the most tragic episodes of post-Cold War US foreign policy.     

Almulihiah: a rock art site in the Hail region,Saudi Arabia

This paper discusses the rock art site of Almulihiah in north Saudi Arabia. The site consists of many carved rock panels of human and animal figures. The drawings depict camels (22%), ibex (10%) and ostrich (8%), although other animals such as goats, lizards and oryx are also present. An attempt is made to date the site by comparing it with other petroglyph sites in the country. The paper concludes with a discussion of the drawing styles present.     

Akhalkalaki: The Taphonomy of An Early Pleistocene Locality in the Republic of Georgia

As part of our investigations into the potential of the Republic of Georgia for providing information on early hominin occupation of Eurasia, we report here on Akhalkalaki, a large late Early Pleistocene locality located along the lower slopes of a Miocene andesitic cone. Originally excavated in the 1950s as a palaeontological site, it was re-opened in the 1990s and stone tools were found associated with the fauna, suggesting that it is also an archaeological occurrence. Excavations in the 1950s and 1990s uncovered thousands of bones of an early Galerian fauna, including the remains of new species of Hippopotamus,Equus , and Canis (Vekua, 1962, 1987) and dominated by the remains of Equus süssenbornensis. We present the stratigraphy of the site, which together with faunal correlations and reversed paleomagnetics indicates an age most likely in the late Matuyama Chron, probably between 980,000 and 780,000 years ago. Taphonomic analysis suggests that the fauna was deposited and buried over a short time period, and was heavily modified by carnivores, but we cannot demonstrate involvement by hominins. Based on evidence of abundant krotovina (animal burrows filled with sediment) and the lack of definitive evidence for hominin modification to the bones, the stone tools at the site may have been mixed in with the older fauna. The taphonomic characteristics of the Akhalkalaki bone assemblage are not readily explained with reference to assemblage formation processes developed with actualistic studies that have been mostly conducted in Africa, including carnivore dens, predator arenas, human hunting and scavenging, mass deaths, or attritional bone deposition. Because of extreme anthropogenic modification of the present environments, the temperate setting, and the presence of mainly extinct taxa, local models based on actualistic studies cannot approximate the mammalian ecology reflected in the Akhalkalaki bone assemblage. A few comparisons are made with preliminary taphonomic observations from Dmanisi, an Early Pleistocene Homo ergaster site not far away.